XENAKIS, IANNIS — Electronic Music
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Wichtige Aufnahmen aus dem Werk, v.a. der Frühzeit des griechischen Komponisten: 4 der hier enthaltenden Stücke entstanden 1957-1962 im INA GRM-Studio in Paris bei PIERRE SCHAEFFER. Ein weiteres stammt aus dem Jahre 1970 (nur instrumentale Sounds), das letzte schließlich ist unter Einsatz eines speziellen Computer-Programmes entstanden, welches XENAKIS entwickelt hat (1992). Schön & erstaunlich die geräuschhaft-dröhnig-elektronischen Stücke aus seiner Anfangszeit...
“Superlative and long desired reissue of Xenakis's early electronic works, including the in-demand pieces from his his pioneering Nonesuch album Electro-Acoustic Music. Issued in collaboration with France's INA-GRM, the studio where the first 3 of these compositions were realized. Although it only makes up a tiny portion of his total composed work to date, Xenakis's tape works are as legendary and significant as those of Schaeffer, Henry or Stockhausen. Powerful, mind expanding listening -- this release certainly will rate as one of 1997's most important experimental musical documents. Includes the following works: "Diamorphoses" (1957): "a study of white noise and its graduations through the process of densification." "Concret PH" (1958): "This very short work is a sound continuum without a single break. Xenakis pre-recorded crackling embers from which he extracted very brief (one-second) sound elements. Then he assembled them in huge quantities, varying their density each time. This work can be compared to his instrumental preoccupations concerning 'clouds of sound'." "Orient-Occident" (1960): "one of the major masterpieces for tape...conceived as a music for a film by Enrico Rulchignoni." "Bohor" (1962): "dedicated to Pierre Schaeffer...an extraordinary and deafening sound continuum where the listener is invited, in a figurative sense, to hear bells chime while standing inside them!" "Hibiki-Hana-Ma" (1970):" "Xenakis recorded and reworked sequences played by an orchestra, a biwa, and a snare drum but never rendered them unrecognizable. Distributed over 12 tracks, the work's sonorities were elaborated in function of a highly pronounced spatialization. The title of this piece means 'reverberation -- flower -- interval." "S.709" (1992) recorded with the GENDYN program: "Both the sounds produced in the piece as well as the global evolution of the composition are literally unheard of: despite the abstract nature of the processes involved and their mechanical nature, the Xenakis sound world is immediately recognizable." [press release]
“Superlative and long desired reissue of Xenakis's early electronic works, including the in-demand pieces from his his pioneering Nonesuch album Electro-Acoustic Music. Issued in collaboration with France's INA-GRM, the studio where the first 3 of these compositions were realized. Although it only makes up a tiny portion of his total composed work to date, Xenakis's tape works are as legendary and significant as those of Schaeffer, Henry or Stockhausen. Powerful, mind expanding listening -- this release certainly will rate as one of 1997's most important experimental musical documents. Includes the following works: "Diamorphoses" (1957): "a study of white noise and its graduations through the process of densification." "Concret PH" (1958): "This very short work is a sound continuum without a single break. Xenakis pre-recorded crackling embers from which he extracted very brief (one-second) sound elements. Then he assembled them in huge quantities, varying their density each time. This work can be compared to his instrumental preoccupations concerning 'clouds of sound'." "Orient-Occident" (1960): "one of the major masterpieces for tape...conceived as a music for a film by Enrico Rulchignoni." "Bohor" (1962): "dedicated to Pierre Schaeffer...an extraordinary and deafening sound continuum where the listener is invited, in a figurative sense, to hear bells chime while standing inside them!" "Hibiki-Hana-Ma" (1970):" "Xenakis recorded and reworked sequences played by an orchestra, a biwa, and a snare drum but never rendered them unrecognizable. Distributed over 12 tracks, the work's sonorities were elaborated in function of a highly pronounced spatialization. The title of this piece means 'reverberation -- flower -- interval." "S.709" (1992) recorded with the GENDYN program: "Both the sounds produced in the piece as well as the global evolution of the composition are literally unheard of: despite the abstract nature of the processes involved and their mechanical nature, the Xenakis sound world is immediately recognizable." [press release]